SummaryThe dissertation Fra strøtanke til værk – en genetisk undersøgelse af de kreative processer i den sene del af H.C. Andersens forfatterskab (From stray thought to work – A genetic study of the creative processes in the latter part of Hans Christian Andersen’s authorship) seeks to clarify the patterns and shaping that exist in Hans Christian Andersen’s creative processes as they find expression in the preserved drafts of the three tales ‘The New Century’s Goddess’ (1861), ‘The Ice Maiden’ (1861) and ‘Auntie Toothache’ (1872). The presentation attempts to clarify the creative process that takes place from the time the initial idea or memoranda are recorded to when the author has completed the shaping of the individual work. The point of departure is that the drafts constitute empirical material where editings and development from one textual stage to another provide us with tangible evidence as to the choices that have been made in the shaping process.The prerequisite for this investigation is the procurement and organisation of the necessary empirical material. The dissertation is conditioned by the PhD project’s preceding examination of Hans Christian Andersen collections at the Danish Royal Library, including in particular the Collin Collection 41.4o, which, according to the catalogue description, comprises ‘Various booklets and loose papers, containing scattered notes, sketches, excerpts and the like, collected partly by A. himself under the title “Thoughts and memoranda to be made use of when attuning”.’ The exploration’s subsequent identification, selection and transcription of the drafts for analysis constitutes the basic research dimension of the dissertation.The methodological approach to the organisation and analyses of the drafts is inspired by the French Critique Génétique, which, along lines similar to the dissertation, focuses on the text-production process and thereby those parts of the creative process about which one can say something certain. The main hypothesis of the dissertation is that genetic analyses of drafts can contribute considerably to new interpretations of well-known works. We are dealing with a critical and pragmatic use of genetic methodology, one that has contributed to the systematisation of what in genetic terminology are referred to as the dossiers: the collecting of all accessible handwritten manuscripts that have been used in the targeted efforts to produce a literary work.To shed further light on what characterises the creative processes in the latter part of Hans Christian Andersen’s literary work, I include what I have chosen to define as a pretext: apart from the elements from the dossiers, the pretext consists of textual elements that have not been made use of in the goal-oriented process, yet even so relate directly to and create the prerequisite for the published works. For the same reason, theoretical and psychological approaches to creativity are included, and a discussion takes place regarding the extent to which these can contribute to a clarification of Hans Christian Andersen’s creativity.Chapter 1 introduces the PhD project’s point of departure: the interest in Hans Christian Andersen’s handwritten manuscripts and in the author’s efforts to shape his work. In the chapter, I give an account of the research traditions that are linked to the study of Andersen’s draft work as well as of the artistic processes that underlie the works of his authorship. I show that research until the present is of surprisingly limited scope within these areas, and that the existing research is of a different nature to that of this dissertation. Next, I give an account of how the dissertation has marked out the empirical data – it is the result of going through the material of the Hans Christian Andersen Collections at The Royal Library and a subsequent evaluation of which works have preserved drafts of sufficience for it to be possible to carry out analyses of the shaping process. I then give an account of the methodology that has been used in the basic research section of the project and remark that this section resulted in the inclusion of genetic criticism as a methodological approach to the organisation and analyses of the three collections of drafts. The chapter concludes with the problem formulation, which emphasises the three ways in which the dissertation is to contribute to existing Andersen research: by establishing, transcribing and publishing three collections of pretext, by introducing genetic analysis as a methodological approach to interpretation and especially the clarification of creative processes, and by describing the forms of creativity that manifest themselves through the analyses, with the inclusion of creativity-theoretical perspectives.Chapter 2 introduces the methodological approach to the study of Andersen drafts. It begins with an overview of the historical background for the establishing of author archives and of the discussion of the relevance of studies dealing with the writer’s non-published manuscripts. It then outlines the assumptions and limits of the French school of literary criticism known as Critique Génétique in relation to the philological approaches, as they appear in articles of the three ‘pioneers’ Louis Hay, Jean Bellemin-Noël and Pierre Marc de Biasi as well as in Johnny Kondrup’s critique of the genetic school. The genetic procedures and principles are gone through and discussed, using Biasi’s description of the genetic method as a starting point, and in order to determine which elements can be applied in the analyses of the dissertation, and which cannot. In the methodological discussion I deal with the critique to which the genetic school has been subjected. I argue that my own pragmatic reception of parts of the genetic methodologies is determined by the shared focus on the process and the interpretative approach to the analysis of the manuscripts. I also underline that my investigation differs from genetic criticism as regards the attitude to the writer’s intention and biography: my attitude is that the various stages of the text not only co-exist but that there is a reason for the writer allowing a certain stage to be published rather than another stage. Although my examination is not biographically oriented in its point of departure, I also include biographical material in the pretext to the extent I am able to argue that such material sheds light on the creative processes. Finally, I explain how I intend to use the key concepts dossier and pretext, as described above, as well as the concepts work (the published text, the ‘work of art’) final text (representing the point at which the author has ceased to further modify the text), basic text (the best available variant of the published text) and ideal text (non-published, non-tangible text: the text rid of all errors). Chapters 3, 4 and 5 are the analytical section of the dissertation and contain interpretations of ‘The New Century’s Goddess’, ‘The Ice Maiden’ and ‘Auntie Toothache’ as well as a description and analysis of their dossiers and pretexts.Chapter 3 begins with an interpretation of the poetological piece of prose with an essay-like nature: ‘The New Century’s Goddess’ (1861). The work contains no real action, but focuses explicitly on poetics. After a description of the genesis and evolution of the piece of prose, the dossier of the work is presented and analysed. The dossier consists of a great number of jottings in notebooks as well as three rough drafts and a fair copy – plus an as yet unpublished rough draft ‘Immortality’. The overall development of the stages of the text is described and certain textual elements are studied in detail. The collected pretext is established and the creative process is isolated in the concluding section, in which I affirm that the idea for a poetological piece of writing arose 20 years or so before the goal-directed process was initiated. The pretext and process are atypical in the sense that the thorough revisions do not represent an unfolding of action or character but rather a scanning of the poetological memoranda in the notebooks. The pretext also displays a wide-ranging network of anecdotes, images, sayings and personal experiences that recur throughout the writer’s authorship. It has been exceptionally thoroughly revised and, in connection with the nature of the editing, one gets the impression that the shaping process – despite Andersen’s professed satisfaction with the work – has caused him quite some difficulty.Chapter 4 analyses ‘The Ice Maiden’ (1861), the longest ‘story’ by far that Andersen wrote. The introduction analyses the particular blend in the story of features from the fairytale, novel, travel account and fantastic novella, drawing attention to the ambivalence and mirroring that arises between the overall narrative and the embedded story of ‘The Eagle’s Nest’. Its Swiss origins are outlined, after which an account is given of the extremely comprehensive and collage-type dossier that comprises elements from both The Royal Library and Odense City Museums. The description of the total pretext shows that the narrative starts up in the form of early drafts from Switzerland in 1860, that it gradually includes a number of inter- and intratextual references, and that the fair copy in particular works on installing a (fantastic) hesitation, linguistic figures and a rounded conclusion. With the analysis of the collage-like nature of the pretext, it is argued that the work reflects the developmental process, and that Andersen has consciously used a recycling strategy in his approach to the material.Chapter 5 deals with ‘Auntie Toothache’ (1872), staged by Andersen as a conclusion to his writing of fairytales, and one of the very few actual frame stories. Here too, the construction of the work reflects its coming into existence, also that the thematic of immortality is centre stage. The rough draft ‘Immortality’, which shares motifs with the final text, is also included in both dossier and pretext, which in addition also consists of highly varied and fragmentary drafts. These occur in particular in the framework story of the final text – the manuscript the student has left behind. It is noted that the creative process stretches over a period of almost 40 years and is also characterised by a number of long breaks between the more goal-oriented writing phases. Typical of the movement in the text is that a development takes place as well as a mutual interaction of aphorisms and sayings, via characters, scenarios and monologue to the unifying point where the fragments are put together in a collage form, with the surrounding frame story. The creative process is further characterised by its inclusion of a number of early, personal and painful experiences, and by the fact that Andersen, quite exceptionally, has edited the text after the publishing of the first edition.Chapter 6 begins by summarising the findings of the previous three analyses. One gains a picture of a writer in a constant dialogue with his material. The pretexts demonstrate how the final texts have assumed their form via a vast number of ‘run-ups’, reworkings, restructurings, recyclings, expansions and proofreadings. I argue that this kind of shaping characterises the authorship from beginning to end and can be seen as expressing a conscious strategy. At the same time, individual characteristics in the three pretexts express the genres into which they seek to inscribe themselves – or out of which to ‘exscribe’ themselves. In acknowledgment of the fact that the genetic analyses can only provide a partial picture of the creative processes, other approaches are included in the chapter. A glimpse is first provided of Hans Christian Andersen’s own, naturally more or less staged reflections on his own creativity. Included is a previously unpublished rough draft with the title ‘The Poetry of Chance’. To illustrate what creative patterns can lie behind the visual, textual progression, I then outline the classical creativity models, recent product-oriented theory of creativity by Mihaly Csikzentmihalyi and Teresa M. Amabile in particular, and a critique of this by Søren Harnow Klausen. The limited statement value of the product-oriented creativity theories in relation to the aims of the dissertation then motivate addressing older, individual-psychological theories of creativity, which have precisely aesthetic expression as their focal point. Here I touch on the theories of Sigmund Freud, Anton Ehrenzweig and Carl Gustav Jung, and point out that the individuation theory of the last-mentioned – with certain reservations – can be used to illustrate how the process of literary creation is closely related to the need of the creative individual via art to reach a new interpretation of the self in relation to the world – and thereby to a union of the contrasting aspects of his or her own being.Chapter 7 is the concluding chapter of the dissertation and begins with a summary and a putting into perspective. Here the partial conclusion of Chapter 6, Andersen’s own reflections about his creativity and the creativity-theoretical approaches are allowed to interact, the aim being to form a more cohesive picture of how Andersen’s creative processes shaped themselves in the final part of his authorship. The time-span for the three pretexts is illustrated by a model; likewise various ways of regarding Andersen’s creative processes are illustrated by two further models. Subsequently, the genetically inspired method of the dissertation is discussed and evaluated, and in conclusion an account is given for the potential mediating perspectives of the dissertation and the empirical material. It is argued that there ought to be broader access to Andersen’s handwritten manuscripts.The dissertation as a whole contributes new knowledge about how the use of the writer’s drafts can shed new light on works already known in advance and lead to remarkable ‘finds’ in collections of previously unpublished material. It does away with the widespread romantic idea of Hans Christian Andersen as an improviser, replacing it with the picture of a writer who works consciously and constantly on collecting and shaping his material. And finally, the dissertation can be seen from a methodological point of view as an empirically based proposal to operationalize genetic studies in Andersen research.
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机译：总结论文是由H.C.的专业加工人员在Engels上进行的。 Andersens forfatterskab（从流浪思想到工作-汉斯·克里斯蒂安·安徒生创作后期的创作过程的基因研究）试图阐明汉斯·克里斯蒂安·安徒生的创作过程中存在的模式和造型，因为它们在保存的稿件中表达出来这三个故事分别是“新世纪的女神”（1861年），“冰雪少女”（1861年）和“牙痛姨妈”（1872年）。该演示文稿试图阐明从记录最初的想法或备忘录到作者完成个人作品的塑造为止的创作过程。出发点是，草案构成了经验材料，从一个文本阶段到另一个文本阶段的编辑和发展为我们提供了关于成形过程中所做选择的切实证据。此项调查的前提是采购和组织必要的经验材料。本论文的前提条件是该博士项目对丹麦皇家图书馆的汉斯·克里斯蒂安·安徒生（Hans Christian Andersen）藏品进行了事先检查，其中包括特别是Collin藏品41.4o，根据目录的描述，该藏品包括“各种小册子和散页纸张，其中散落着笔记，草图，节录等，部分由A.亲自收集，标题为“调优时要使用的想法和备忘录”。勘探工作随后对标识的草稿进行识别，选择和抄录构成了分析的基本研究范围。草案的组织和分析方法学方法受到法国评论家Génétique的启发，法国评论家Génétique与论文类似，着重于文本制作过程，从而着重于创作过程中可以说的那些部分一定的东西。论文的主要假设是，草稿的遗传分析可以为著名作品的新解释做出很大贡献。我们正在处理对遗传学方法的一种批判性和实用性的使用，这有助于遗传学术语中所称档案的系统化：收集所有用于目标性研究的手写稿件。为了进一步阐明汉斯·克里斯蒂安·安徒生文学作品后期创作过程的特征，我选择了我定义为借口的东西：除了档案材料之外，借口还包括文字元素在面向目标的过程中尚未使用的内容，甚至与发布的作品直接相关并为其创造了前提。出于同样的原因，包括了创造力的理论和心理方法，并就这些方法在多大程度上有助于澄清汉斯·克里斯蒂安·安徒生的创造力进行了讨论。第一章介绍了博士项目的出发点：对汉斯的兴趣克里斯蒂安·安徒生（Christian Andersen）的手写手稿以及作者为塑造他的作品所做的努力。在本章中，我将介绍与安徒生草稿研究相关的研究传统，以及构成其作者作品的艺术过程。我表明直到现在的研究在这些领域的范围都出乎意料的有限，并且现有研究的性质与本论文的性质不同。接下来，我将介绍论文是如何标记出经验数据的–这是浏览皇家图书馆的汉斯·克里斯蒂安·安徒生藏品的材料并对其进行后续评估的结果，这些作品为该文献保留了足够的草稿以便进行成型过程的分析。然后，我介绍了该项目的基础研究部分所使用的方法，并指出该部分导致将遗传批评作为组织和分析三个草案集合的方法论方法。本章以问题表述作为结尾，重点阐述了论文为现有的安徒生研究做出贡献的三种方式：通过建立，抄录和出版三套借口，通过引入遗传分析作为一种方法学方法来进行解释，尤其是阐明创造过程的过程，并通过分析来描述表现出来的创造力的形式第二章介绍了安徒生草稿研究的方法论方法。它首先概述了建立作者档案的历史背景，并讨论了有关作者未出版手稿的研究的相关性。然后概述了语言学方法论方面的法国文学批评学派的假设和局限性，正如语言学方法一样，它们出现在三位“先驱者”路易斯·海伊，让·贝勒敏·诺埃尔和皮埃尔·马克·德·比亚西的文章中就像约翰尼·康德鲁普（Johnny Kondrup）对遗传学派的批判一样。以Biasi对遗传方法的描述为起点，探讨并讨论了遗传程序和原理，以便确定哪些元素可以应用于论文的分析中，哪些不能。在方法论讨论中，我讨论了遗传学派受到的批评。我认为，我自己对部分遗传学方法论的实际接受是由对手稿分析过程和解释方法的共同关注所决定的。我还强调，在对作者意图和传记的态度上，我的研究与基因批评不同：我的态度是，文本的各个阶段不仅共存，而且作者有理由允许某个阶段而不是另一个阶段。尽管我的考试不是从传记的角度出发的，但我也借口包括了传记材料，以至于我认为这样的材料可以为创作过程提供启发。最后，我解释了我打算如何使用如上所述的关键概念卷宗和借口，以及概念作品（已出版的文本，“艺术品”）的最终文本（代表作者已停止的观点）进一步修改文本），基本文本（已发布文本的最佳可用变体）和理想文本（未发布，非有形文本：消除所有错误的文本）。第三章，第四章和第五章是论文的分析部分，包含对“新世纪女神”，“冰娘子”和“牙痛姨妈”的解释，以及对它们的档案和借口的描述和分析。第三章开始以散文形式诠释诗学散文：“新世纪的女神”（1861年）。该作品未包含任何实际行动，但明确地侧重于诗学。在对散文的起源和演变进行描述之后，提出并分析了作品的档案。该档案包括笔记本中的大量笔迹，三个草稿和一份公平的副本–以及尚未出版的“不朽”草稿。描述了文本阶段的整体发展，并详细研究了某些文本元素。在结论部分确定了收集的借口，并隔离了创新过程，在那部分中，我确认诗意写作的想法是在目标导向过程启动前的20年左右出现的。借口和过程是非典型的，在某种意义上说，彻底的修改并不代表行为或人物的展开，而是代表对笔记本中诗意备忘录的扫描。借口还显示了范围广泛的轶事，图像，谚语和个人经历网络，这些网络在作者的整个创作过程中屡见不鲜。它经过了特别彻底的修改，并且结合编辑的性质，给人的印象是，尽管安徒生对作品自以为是满意，但塑造过程却给他造成了相当大的困难。第四章分析了《冰雪少女》（The Ice Maiden）（ 1861年），这是安徒生撰写的最长的“故事”。导言分析了童话，小说，旅行记述和奇幻中篇小说中故事的特殊融合，提请人们注意“鹰巢”的整体叙事和嵌入故事之间的矛盾和镜像。概述了它的瑞士起源，然后介绍了极为全面和拼贴式的卷宗，其中包括皇家图书馆和欧登塞市博物馆的元素。对总借口的描述表明，该叙述以1860年来自瑞士的早期草稿的形式开始，逐渐包含了一些文字间和文字间的参考，并且特别是关于公平复制品的作品，其安装了（奇妙的）犹豫，语言人物和四舍五入的结论。通过对借口的类似拼贴性质的分析，有人认为该作品反映了发展过程，并且安徒生在材料处理中有意识地采用了回收策略。第5章处理``牙痛姨妈''（1872年） ），由安德森（Andersen）上演，作为他写童话故事的总结，也是极少数实际的框架故事之一。在这里，作品的结构也反映了它的存在，而永生主题也是中心舞台。与案文有图案的粗略的“不朽”草稿也包含在卷宗和借书中，此外，案文还由高度多样且零散的草稿组成。这些尤其发生在最终文本的框架故事中-学生留下的手稿。值得注意的是，创作过程长达40年之久，其特点还在于，在面向目标的写作阶段之间有许多长时间的休息。文字运动的典型特征是，通过人物，场景和独白，发展成一种发展形式，并且格言和格言相互互动，达到了将片段以拼贴形式与周围的框架故事放在一起的统一点。 。创作过程的特征还在于它包含了许多早期的，个人的和痛苦的经历，并且在第一版出版后，Andersen非常例外地对文本进行了编辑。第六章首先总结了研究结果。前三项分析。在与作者不断对话的过程中，获得了一位作家的照片。这些前言展示了最终文本是如何通过大量的“预备”，重制，重组，再循环，扩展和校对来呈现其形式的。我认为这种塑造从始至终都是作者身份的特征，可以看作是一种有意识的策略。同时，这三个借口中的个体特征表达了他们试图刻画自己或“刻画”自己的风格。在承认遗传分析只能提供部分创造性过程这一事实这一事实的基础上，本章还介绍了其他方法。首先让我们一窥汉斯·克里斯蒂安·安徒生自己的东西，自然地或多或少地对他自己的创造力进行了阶段性的反思。其中包括一个以前未出版的草稿，标题为“机会的诗歌”。为了说明视觉，文本进展背后可能存在的创造性模式，我概述了经典的创造性模型，特别是Mihaly Csikzentmihalyi和Teresa M. Amabile近期以产品为导向的创造性理论，以及SørenHarnow Klausen对此的批评。以产品为导向的创造力理论相对于论文目标的有限的陈述价值，进而激发了对较早的，个体心理学的创造力理论的关注，这些理论以审美表达为重点。在这里，我谈及西格蒙德·弗洛伊德（Sigmund Freud），安东·埃伦茨威格（Anton Ehrenzweig）和卡尔·古斯塔夫·荣格（Carl Gustav Jung）的理论，并指出，后文提到的个性化理论（有一定保留）可以用来说明文学创作的过程如何与文学创作过程紧密相关。需要有创造力的个人通过艺术达到对与世界有关的自我的新解释，从而将自己的存在与对立面结合起来。第七章是论文的结语，从一章开始。总结和展望。这里是第6章的部分结论，可以允许安徒生自己对他的创造力的思考与创造力理论方法进行互动，目的是对安徒生的创作过程如何在其著作的最后部分形成自我形成更加连贯的印象。这三个借口的时间跨度用模型表示；同样，还有两个模型说明了有关安徒生创作过程的各种方式。随后，讨论并评估了论文的遗传启发方法，并在最后总结了论文的潜在中介观点和经验材料。有人认为应该更广泛地使用安徒生的手写手稿。论文作为一个整体，为人们提供了新的知识，即如何利用作者的草稿为预先已知的作品开辟新的亮点，并在收藏中带来非凡的“发现”以前未出版的材料。它消除了汉斯·克里斯蒂安·安德森（Hans Christian Andersen）作为即兴演奏者的广泛浪漫观念，取而代之的是一位作家的照片，该作家有意识地并不断地致力于收集和塑造他的资料。最后，从方法论的角度可以将论文视为在安徒生研究中进行基因研究的基于经验的建议。
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